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002. KøNTπµ̆ METAV3R5@ kAPIT∆L‡$mø
  “Why is it easier to imagine the end of the world than the end of the capitalist system?” 

A question attributed to Slavoj Žižek, a Slovenian philosopher, serves as a starting point for the development of the collection entitled ` KONTRAŬ METAVERSA KAPITALISMO ` which translates from Esperanto as “against metaverse capitalism”. The collection communicates, in counterculture, the dangers of using technology for profit, neglecting the environment and society.

   In KONTRAŬ METAVERSA KAPITALISMO the conceived future is of a Homeland that coexists with the denatured exploitation of the environment and work, promoted by a state production mode minimum, managed by an elite that concentrates income. This promotion of the end of the world and humanity evidence a chaotic and unbearable reality for outdoor locomotion, advent of planetary warming, air pollution and endemic diseases - caused by the profitable exploitation of natural resources; In addition to the inaccessibility of basic consumer goods and the survival of the majority of the population - promoted by the concentration of income, financial speculation and the precariousness of work relationships.

    The metaverse, in this reality, presents itself as the perfect opium of the end of the world, and consequently feeds this apocalyptic system with alienation. The digital universe makes it possible to create personal avatars, leisure and hyper-realistic virtual encounters, while nourishing mega-corporations selling data, helping people to be imprisoned in the virtual world, manipulated by it, and not react to the problems that make it impossible. comfortable life based on reality.
   The pieces in the collection represent a reaction of counterculture in the real world, of dissidents, aware of the exploitation promoted by this system of virtualized capitalism and fleeing from this reality. Loaded with abnormous symbols, chaotic textures and androgynous and subversive models, the pieces convey an image of anti-regular fashion, promoting identification and union of these individuals who are in the task of dissolving the current political and social reality.
    The textures of the collection, in synthetic discard fabric, were developed with deformation of raw material by heat and elastic straps, alluding to the reality of consumption and disposal, which promote the imprisonment of the individual in the search for alternatives. 3D modeling is used to study anti-traditional shapes, 3D printing for finishes, trims and accessories; and prints with a message of order and textured by computer - promoting a hyper-modern materialist dialectic in the image of counterculture fashion while at the same time guiding sustainability in the transformation of fabrics that would go to waste, 3D piloting that avoids waste of raw material, in addition to organic and biodegradable textiles.

The collection`s message is to emphasize that technology must be socio-environmental and not commercial.

creative direction

Eric Valença


Adrian Carrari

Ernando Prado

Art direction

Vitoria Grassi


Ernando Prado


Marina Diniz



Pilot assistance

Vinicius Almeida
Backstage assistance
Gabriel Manukian
Guilherme Rodrigues


Carl Arrom


Katherine S


Santista Jeanswear

Special thanks
João Valença
Marcia Rocha
Geraldo Lima
Rafael Silvério
Lara Ferro
Olivia Merquior
BRIFW team